The Ballet Manila Archives is the repository of documents, print, photographic, audio and video materials and memorabilia relating to the history of Ballet Manila and the life and career of its founder, prima ballerina Lisa Macuja-Elizalde. This site is powered by Ms. Elizalde and Project Art, Inc.
A fondu is a very important step as it helps the dancer gain strength and control when done properly.
“After the curtains fall, there will always be a correction and you should always look for it.”
Between season productions in 2007, Ballet Manila took the time to co-present with the Cultural Center of the Philippines a show titled Music, Trio, Magic.
In ballet lore, the wilis of the classic Giselle are in an exalted spot when it comes to otherworldly beings. The spirits of women jilted by their lovers, they exact revenge on disloyal men by forcing them to dance until they die of exhaustion.
This step can be executed in place, or travelling forwards or backwards.
Ballet Manila's delegation to the 2019 Asian Grand Prix in Hong Kong last August ended with the triumph of their “bunso” (youngest member), then 11-year-old Juan Angelo de Leon.
Standing tall on their toes, Ballet Manila led by co-artistic directors Lisa Macuja-Elizalde and Osias Barroso rose to the occasion to deliver an exquisite performance that stunned the audience.
Sometimes in life confusion tends to arise and only dialogue of dance seems to make sense.
Giselle is one of the most dramatic ballets that a ballerina can be privileged enough to dance in, and also one of the most exhausting roles. It’s a story of love so strong that it causes a girl to go mad and dies of a broken heart. It also causes her to rise from the grave and save the same man who wronged her.
Despite having performed the role twice before, Joan is never one to rest on her laurels.
“I had never had my heart broken so I couldn’t really relate to going mad from a broken heart.”
The ballet classic Giselle has a soft spot in Osias “Shaz” Barroso’s heart.
Flexibility plays an important role in dance, particularly in having high extensions.
“It was very fulfilling because it showed off Ballet Manila and the teaching we can offer.”
A staple in the arsenal of Ballet Manila's classical repertoire, the company has been performing Giselle since its inception in 1995
Giselle will be on stage for one night on October 17, Thursday at 8 p.m., at the CCP Main Theater.
Begin again. For Ballet Manila artistic director Lisa Macuja-Elizalde, it’s the prevailing thought amid an incomprehensible loss that she is still grappling to make sense of.
Lisa Macuja-Elizalde’s “Russian connection” was in full focus when Ballet Manila presented the world premiere of its Romeo and Juliet in 2001.
An Arabesque describes the position where the dancer has one leg stretched directly behind them.
